Jamie Stevens

  • A history of the world as it has become known to me

    A history of the world as it has become known to me

    Ellen Cantor, Lia Gangitano, Fatima Hellberg, and Jamie Stevens

    Ellen Cantor (1961–2013) combined ready-made materials with diaristic notes and drawings to probe her perceptions and experiences of personal desire and institutional violence. This book is concerned with, and a document of, Cantor's work through the lens of Pinochet Porn (2008–16) and its making—an epic experimental film embodying and radically extending her multifaceted artistic practice. Taking the form of an episodic narrative about five children growing up under the regime of General Augusto Pinochet in Chile, and shot between her dual hometowns of London and New York, history is observed through Cantor's fictive speculations on private experience within a totalizing political order. A history of the world as it has become known to me brings together writings and archival materials of Cantor's, including a reproduction in full of her drawing-based script Circus Lives from Hell (2004), alongside contributions by writers, artists, collaborators, and friends reflecting on Cantor's practice, Pinochet Porn, and a singularly transgressive vision: explicitly feminist, remorselessly emotional, dramatic in tone, and, as Cantor herself liked to put it, adult in subject matter.

    This publication follows the exhibitions “Cinderella Syndrome,” CCA Wattis Institute for Contemporary Arts (December 8, 2015–February 13, 2016) and “Ellen Cantor,” Künstlerhaus Stuttgart (April 2–July 31, 2016).

    Copublished with Künstlerhaus Stuttgart, Participant Inc., and CCA Wattis Institute for Contemporary Arts

    Contributors Dodie Bellamy, Jonathan Berger, John Brattin, Ellen Cantor, Lia Gangitano, Cy Gavin, Joseph Grigely, John Maybury, Clara López Menéndez

    • Paperback $34.00
  • Josephine Pryde

    Josephine Pryde

    lapses in Thinking By the person i Am

    Anthony Elms, Josephine Pryde, and Jamie Stevens

    lapses in Thinking By the person i Am presents documentation and texts from Josephine Pyde's eponymous exhibition shown at the CCA Wattis Institute for Contemporary Arts, San Francisco, and Institute of Contemporary Art at the University of Pennsylvania. In this body of work, Pryde combines a series of color photographs of hands touching objects with a scale-model freight train and track, replete with miniaturized graffiti, that took visitors in a short ride through the exhibition. Through photography and sculpture, Pryde pays close attention to the nature of image making and the conditions display, subtly reworking codes and conventions to alter our cultural perception and understanding of each. In this book, “The Individual,” an essay by Pryde originally published in the journal Texte zur Kunst, is followed by an essay from CCA Wattis exhibition curator Jamie Stevens and a conversation between Pryde and ICA curator Anthony Elms.

    Copublished with CCA Wattis Institute for Contemporary Arts, San Francisco; and Institute of Contemporary Art, University of Pennsylvania

    • Hardcover $34.00

Contributor

  • 2016

    2016

    in Museums, Money, and Politics

    Andrea Fraser

    Both institutional critique and reference work, documenting the intersection of politics (in the form of political donations) and art museums.

    2016 in Museums, Money, and Politics examines the intersection of electoral politics and private-nonprofit art institutions in the United States at a pivotal historical moment. In a massive volume that is both institutional critique and reference work, the artist Andrea Fraser documents the reported political contributions made by trustees of more than 125 art museums, representing every state in the nation, in the 2016 election cycle. With campaigning that featured attacks on vulnerable populations, the vilification of the media and “cultural elites,” and calls to curtail civil rights and liberties, the 2016 election cycle and its aftermath transformed national politics. It was also the most expensive election in American history, with over $6.4 billion raised for presidential and congressional races combined. More than half of this money came from just a few hundred people—many of whom also support cultural institutions and serve on their boards.

    2016 is organized like a telephone book. Contribution data is laid out alphabetically by name of donor. With this and other data filling more than 900 pages, the book offers a material representation of scale of the interface between cultural philanthropy and campaign finance in America. It also provides an unparalleled resource for exploring the politics of the museum world. 2016 includes an afterword by Jamie Stevens, the former curator and head of programs at CCA Wattis Institute for Contemporary Arts in San Francisco, who traces the book's development; an introduction by Andrea Fraser elaborating on the links connecting cultural philanthropy, campaign finance, and plutocracy; a section on each museum represented; and a section including data summaries and additional data. The book presents a powerful argument that supporting the arts must involve more than giving donations to museums; it must also include defending the values, social structures, and political institutions of an open, tolerant, just, and equitable society.

    Copublished by Westreich Wagner Publications, the CCA Wattis Institute for Contemporary Arts, and the MIT Press

    • Paperback $125.00 £102.00